相比那些依赖廉价惊吓和血腥镜头的恐怖片，《死刑2021》的压迫感来自制度本身的冰冷逻辑。影片不靠廉价惊吓，而是通过冷峻的东欧色调、缓慢推近的固定镜头，以及审讯室中反复出现的时间跳切，营造出一种逼近窒息的心理压迫感。导演用大量固定长镜头和特写推移，把监狱走廊的脚步声、铁门转轴的锈涩声都放大到刺耳，观众不自觉跟着囚犯一起数秒等待行刑。适合那些不怕慢节奏、愿意跟角色一起在道德泥潭里挣扎的观众——看完可能整晚都在琢磨：如果换作我，还能守住心里那点光吗？。演员全程没什么大表情，可当他在雨夜里盯着受害者照片失神时，那种压到嗓子眼的窒息感，比尖叫更让人难受。当主角试图用逻辑对抗制度时，你几乎能感受到他喉结的颤抖和衬衫下渗出的冷汗。

　　Like Fritz Lang, David Fincher or Bong Joon Ho before him, talented debut filmmaker Lado Kvataniya uses the concept of police detective vs serial killer for an excitingly stylised, macabre and haunting narrative, that ultimately revolves around the identity of an era: in this case, the late 1980s Soviet Union. With Glasnost and the end of communist rule, the West also learned of the (unsurprising) fact that there were serial killers in Russia too – the most notorious case probably that of Andrei Chikatilo, nicknamed the Rostov Ripper, or the Russian Hannibal Lecter.
　　Based on these and many other sources, Kvataniya and screenwriter Olga Gorodetskaya constructed an immersive psychological puzzle, jumping back and forth in time, to reveal ever new-possible motives for the actions of all the protagonists. It all starts in 1990, when Detective Issa Davydov is celebrating his promotion and receives a call, reporting a crime that looks precisely like the ones of the serial killer that he famously captured some years before ...

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